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<h1>
    THE CRANBERRIES
</h1>

<div class="quote">
    "I TOLD him not to analyse, but the kid just won't listen."<br />

    <img alt="Mike, Dolores, Noel and Fergal" src="images/cranberries.png" />
</div>

<div class="members">
    Mike Hogan, Dolores O'Riordan, Noel Hogan and Fergal Lawler<br />

    <a href="http://www.southparkstudios.com/games/create.html">South Park Create-A-Character</a>
</div>

<p class="albumList">
  <a href="#we">Everybody Else Is Doing It, So Why Can't We?</a><br />
  <a href="#argue">No Need To Argue</a><br />
  <a href="#departed">To The Faithful Departed</a><br />
  <a href="#hatchet">Bury The Hatchet</a><br />
  <a href="#coffee">Wake Up And Smell The Coffee</a><br />
</p>

<p>The Cranberries came from Ireland, in case you didn't know. Initially they were the brothers Noel and Mike Hogan, on guitar and bass respectively, joined by drummer Fergal Lawler. Dolores O'Riordan joined later, through an audition, and took the position of singer and main songwriter for the band. Later came the contract with Island Records, and the LP.</p>

<p>You know, it's funny to think that the band recorded their debut LP almost trying <em>not</em> to be noticed. But of course, with a single like 'Linger', you <em>will</em> be noticed eventually. And so they were, and grew to be a nicely successful pop band. That means that they scored several hit singles and a hefty amount of albums sold, but it also means that they departed from what made their debut LP so darned great. It was that interesting, intelligent brew that made their music so enchanting, so captivating. It's not any kind of specific instrumentation or production trick, it's just their slow, quiet style of playing, gentle and memorable tunes, and sudden brief bursts of pop perfection. Dolores was always a master with dealing with sorrowful, even angry at times, romantic matters. And her voice... Well, she was also a master of abusing the weird modulations, twists and bends in her voice. She didn't sing to be <em>pleasant</em> - and I guess that's why some people don't like her singing at all. Instead, she gives the vocal melodies a brand new dimension of their own.</p>

<p>When 'Linger' proved to be a hit, and 'Dreams' a slightly smaller hit, the band wasted no efforts in becoming a great <em>pop</em> band: 'Zombie', 'Ode To My Family', 'Salvation', 'Animal Instinct', et cetera. Just look at their excellent <strong>Stars</strong> compilation, and see for yourself the amount of fantastic pop singles they scored over their 10 years. Yeah, well, The Beatles scored more than that, but who cares about the Beatles? The Cranberries definitely did, after all, the band's first name was "The Cranberry Saw Us" (don't tell me you don't know what they're referring), and John Lennon was one of Dolores' heroes. But I don't care about the Beatles, at least not in the Cranberries' page. So, what I tried to say is, I won't accuse them of "abandoning their roots". After all, their "change" ot style only made their debut LP even more treasurable and special. And it's actually good when a band doesn't keep repeating the same formula for years. The Cranberries <em>could</em> have easily done that, but they didn't. They were ambitious and played the pop game - and fortunately won, so kudos for them.</p>

<p>Even though I really like this band (and even love several of their songs), you should know that there's lots of things about them that are not likeable. Dolores' lyrics became more and more involved with political and social matters, and the band did some clumsy attempts at sounding "serious" about more important matters other than broken relationships (see <strong>To The Faithful Departed</strong>). But overall, Dolores and Noel focused on their strong melodywriting skills, and they were always able to play their songs with a more-or-less distinct style. Go on, check them out. They're good.</p>

<p class="guide">
  The Cranberries' Discography Guide
</p>
<ul>
  <li>Best album for starters: <strong>No Need To Argue</strong> - A fine balance between the different talents of the band. There are a few weak spots, but you gotta know the weak spots as well.</li>
  <li>Essential album: <strong>Everybody Else Is Doing It, So Why Can't We?</strong> - The moment when the band was truly showing their real, unique style and personality. If you don't have this, you simply don't know the Cranberries.</li>
  <li>Best album: <strong>Everybody Else Is Doing It, So Why Can't We?</strong> - Intimate, sincere, and beautiful as heck.</li>
  <li>Worst album: <strong>To The Faithful Departed</strong> - Ambitions set too high, and goals away from the band's reach.</li>
  <li>Best compilation: <strong>Stars</strong> - <em>ALL</em> the very best Cranberries singles are here, as well as the winner of an Internet poll, 'Daffodil Lament'. This is a fan trap as well, since two new tracks (the title track and 'New New York'... a Futurama reference?) are only available here.</li>
</ul>

<p><a href="mailto:sirmustapha@ig.com.br">Mail your ideas</a>!</p>

<hr />

<h2 id="we" class="best">Everybody Else Is Doing It, So Why Can't We? (1992)</h2>
<p class="medium">
  Best song: <big>Linger</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>I Still Do <span class="good">+</span></li>
  <li><span class="good">Dreams ++</span></li>
  <li>Sunday <span class="good">+</span></li>
  <li>Pretty <span class="good">+</span></li>
  <li>Waltzing Back <span class="good">+</span></li>
  <li>Not Sorry <span class="good">+</span></li>
  <li><span class="good">Linger ++</span></li>
  <li>Wanted</li>
  <li>Still Can't...</li>
  <li>I Will Always</li>
  <li>How</li>
  <li><span class="good">Put Me Down ++</span></li>
</ol>

<p>Well, for the ones who aren't enlightened, the power of this album lies in its understatement. Of course, I could say that the power of the <em>band</em> lies in the understatement, but what I mean is that this album is <em>entirely</em> understated - being just their debut, when they weren't tasting fame and power yet. As such, you can truly experience the band doing what they do <em>best</em> here. It's like they had been doing this kind of music for ages already, and the songs are as perfect as they can be.</p>

<p>And indeed, the album is so succint, so tight, so <em>in place</em>, that it's quite impressive. In 1992, it was already becoming a rule to say things loud, big, for as long as possible. And from nowhere comes this album: twelve lovely pop tunes that may sound all too inoffensive and nice, but that are not. This is the kind of LP that goes fine as background music, but if you stop and <em>listen</em> to it, you may be quite surprised. The "average" song here is short and to-the-point, and if you get distracted for a moment, you may realise it already ended and another one has begun. So the tunes really deserve your attention and care, for they're really good.</p>

<p>And what just <em>is</em> the recipe for these songs? They don't sound all the same, but you just know what elements you'll find in them: gentle, careful picked guitar, one really catchy and well-thought vocal melody, even some subtle production tricks, and <em>very</em> interesting vocal performances by Dolores O'Riordan. The songs aren't necessarily <em>ballads</em>, but the band has this way of playing things nice and gentle, without rushing, or urging to play louder or faster to get the song done once and for all. And when the song <em>does</em> go louder than usual, they're still restrained and standing solid in their place: the rhythm section banging the notes precisely in place, the guitar grinding and whining on its corner, but it's all pleasant to listen to. You know, the band never <em>jumps</em> at you, but that's not what they're supposed to do, after all. They're just being very competent and talented, like they are.</p>

<p>Yeah, I may be just babbling and babbling on and on here, but I'm just trying to give you some background, alright? What <em>is</em> difficult to give background on, though, is Dolores' singing. You know, you never expect what she's going to do next. The melodies, in her voice, become more than sequences of notes, you know? It's about the expression, the unexplainable vocal tricks she pulls, and... of course, the multi-layered vocals harmonising with each other. It's really quite fascinating to hear two, even three at times, layered vocal lines creating strange, beautiful harmonies. But then, it will all depend on whether you like her vocals or not. I believe that her voice sounds painful to some people, but <em>I</em> really like it, so it's all fine to me.</p>

<p>Oh, yes, this is the album that has the Best Cranberries Song Ever. Alright, you may disagree that it isn't the Best Ever, but it was their first big hit, and it <em>does</em> remain as my personal favourite. 'Linger' never loses its charm, not even after a hundred listens: the quiet acoustic guitar line at the beginning, the gentle orchestral swells, the understated melody... Well, pretty much everything. Maybe the hardcore fans will argue with me that the Cranberries did <em>much</em> better songs later in their carreer, throwing 'Daffodil Lament' on my face and all. Tell you what, I <em>love</em> a lot of their latter songs too, but 'Linger' just happens to live in me for a longer time. I can't help it.</p>

<p>You know, there are plenty of songs in this album that I love. And like I said, all of them are good. Not a single one falls behind. They all have something nice to present, and amazingly, not a single one feels <em>redundant</em>. We have slow pop tunes, fast pop tunes, sorrowful ballads, lighthearted ballads, fast rocking songs, slow rocking songs... They all work together. You could take it as a "mood piece", but like I said before, it's a mood piece that requires your attention to truly deliver its power. Really, how could you truly enjoy 'I Still Do' and 'Pretty' if you took them as mere background music? How could you notice the multilayered vocals, the silently wailing melody on the former, and the hushed melody that bursts into short, sudden climaxes on the latter? You can't. There's way too much niftiness in the album to be ignored like that.</p>

<p>The only things that truly <em>jump</em> at you are the more obvious hooks, cleverly placed in the most pivotal songs. Remember 'Dreams'? It has a fast, stimulating rhythm contrasting with quiet passages, and once again you have those layers of beautiful vocals harmonising with each other. It's a truly great pop single. But 'Sunday' hasn't any obvious hook, and it's also a great pop tune. That doesn't mean it doesn't have <em>any</em> pop hooks: they are just understated. You have a very slow, enchanting rhythm with strings, and the trace of a melody... and then it picks up the pace, and the hooks never stop coming.</p>

<p>And so it goes, with every song falling firmly in place. 'I Will Always' brings a soft, warm, lush slow ballad, 'Wanted' and 'Still Can't...' are minor-key fast pop tunes, and I didn't even mention the "heavier" tracks here! 'Not Sorry' sounds quite pissed off, you know. The hushed verses may fool you, so be careful not to be taken by surprise by the pounding chorus with more of those vocals I love. 'Waltzing Back' truly waltzes, albeit in a really angry way, and 'How' has some of those stomping drums and all. Those are the two most "rocking" songs, by the way. And to close the album, 'Put Me Down' is one of the most beautiful. The verses have the definitive "enchanting" Cranberries atmosphere, leading into a soaring, climactic chorus with an unforgettable wordless vocal melody. You know, a <em>climactic</em> ending to the album? You bet it! Of course, the "climax" is just as understated as the entire album, so it doesn't feel any out of place.</p>

<p>Of course, to enjoy the album, you really have to get over at least two things: Dolores' singing, and the fact that it is nothing but a simple, humble pop album. But I got over those two things very, very easily. I'm not saying that her singing is "difficult", like some sort of female Bob Dylan, no. I just heard people who hate her singing, and her stinging, repetitive vocal acrobatics are very easy to grate on the ears of the least patient ones. But to me, she's a great singer, and this is a great album. And that's that.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>14/15</strong></big> - Yeah, it's enjoyable all the way through.<br />
  <big>Resonance:   <strong>14/15</strong></big> - These tunes really <em>get</em> you... that is, if you allow them to.<br />
  <big>Originality: <strong>12/15</strong></big> - Well, they're breaking no new ground here. They're just being themselves, and that's all that matters.<br />
  <big>Richness:    <strong>14/15</strong></big> - Yes, there's plenty of great music here.<br />
  <big>Solidness:   <strong>12/15</strong></big> - Just don't <em>forget</em> that the album is playing, or else it will be over before you notice it.
</p>

<p class="ratingFinale">
  Total: <img src="images/13.png" alt="13" />
</p>

<p>Everyone else is <a href="mailto:sirmustapha@gmail.com">mailing</a> it, so why aren't you?</p>

<hr />

<h2 id="argue">No Need To Argue (1994)</h2>
<p class="medium">
  Best song: <big>Ode To My Family</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Ode To My Family ++</span></li>
  <li>I Can't Be With You <span class="good">+</span></li>
  <li>Twenty One</li>
  <li><span class="good">Zombie ++</span></li>
  <li>Empty</li>
  <li>Everything I Said <span class="good">+</span></li>
  <li>The Icicle Melts <span class="good">+</span></li>
  <li>Disappointment <span class="good">+</span></li>
  <li>Ridiculous Thoughts</li>
  <li>Dreaming My Dreams</li>
  <li>Yeats' Grave</li>
  <li><span class="good">Daffodil Lament ++</span></li>
  <li>No Need To Argue <span class="good">+</span></li>
</ol>

<p>And I suppose this one is a sort of "fan favourite". You see, it's far more packed with "hits" than their debut, and it also contains the Cranberries' big "epic": 'Daffodil Lament'! The multipart six-minute song that was voted the #1 non-single track to be included in their <strong>Stars</strong> 2004 compilation.</p>

<p>But, you know, I still prefer the debut. The thing is that, here, The Cranberries wants to taste more of that pop fame they got with 'Linger' and 'Dreams'. And thus, they knock the subtlety down a notch, knock the ambition up a notch, and let it all blast with full force. Not that they start to <em>rock out</em> madly out of a sudden. The only track where they get close to "rocking out" is 'Zombie', one of the most successful singles here, and one of their most memorable tracks ever. You probably know that stinging, nagging hook on the chorus. It was even transformed into a lame Techno track years ago. It's just not "rocking out" because, even though the guitars are distorted and the drums are pounding, this is angry, slow and hopeless. It's a comment about terrorist attacks, in fact, the first time Dolores dabbled with subjects like that, if I recall correctly. And the lyrics actually cause a good impression, this time around. Great track.</p>

<p>But everywhere else, what you generally see is more attempts at memorable, striking pop tracks. This time, they <em>are</em> trying to jump at you and say something. 'I Can't Be With You' and 'Ridiculous Thoughts' are sad, fast pop tunes - the former being brighter, musically, and the latter having some cool vocal acrobatics on the outro. Some of the ballads have become quite serious, too. 'Empty' has beautiful piano and arrangement for strings, and the vocal melody is quite beautiful. Perhaps she overdoes the "Empteeeeeeee-heeeee, eeeeee-heeee, eeeeee-heeeee, eeeee-heeee" whining at the end, but that's not such a heavy blow - unless you don't like Dolores' singing too much. In this case, better keep away from this song. 'Disappointment' is gloriously beautiful and bitter, one of the best ballads in here, and 'Yeats' Grave' is very dramatic.</p>

<p>I'm not trying to speak badly about those songs, you know. But it's just <em>very</em> noticeable how they're dropping the "mysticism" of the previous album in favour of something more... clear - even if "clear" sometimes means "clearly bitter" or "clearly angry". And, of course, "clearly happy", like 'Dreaming My Dreams', their attempt at lightening up the mood. It <em>does</em> lighten up the mood a little, with some nice singing and a violin line popping up often. Maybe it's a bit... unsubstantial? Well, yes, whatever. They haven't <em>given up</em> that aura, though. They're <em>still</em> The Cranberries, just trying a few grander things. Say, 'Ode To My Family' is a fantastic song. It's a mellow, hushed ballad, and Dolores' singing and the lyrical thematics make the song very poignant - and it <em>still</em> retains that "understatement" I like so much, especially on the lonely "doo doo-roo doo" chanting. 'Twenty One' has those whispery, hushed vocals and gentle guitar arpeggioes, culminating with some glorious wordless chanting. And, for some reason, I always have been enchanted by 'Everything I Said'. It's the quietest one on the record, and I guess that timid, uncertain melody definitely <em>does</em> it for me.</p>

<p>In a way, this is a natural "extension" of the previous album. It may not have been an <em>evolution</em>, but how could their debut album evolve? At best, it would be a superior <em>copy</em> of the formula, but they decided to change a little. The decision was to become more <em>serious</em> - both in the lyrical thematics and in the musical attitude. They managed to avoid the "curse of the second album" very well, after all, the album is packed with melodies and clever pop hooks. It's just the... atmosphere that's different here. This kind of pop, even though it's still drenched with the band's identity, is closer to "generic" than the previous. But I can <em>still</em> take quality "generic" pop, and that's why I like these songs.</p>

<p>But hey! It would be unfair to say the entire album is generic. It isn't! 'The Icicle Melts' is a real gem, starting up with wonderful little guitar harmonics, and then shifting into a sorrowful, cleverly written song with lyrics about babies dying and mothers crying. Dolores' lyrics were never anything incredible, and as you'll read in the next review, they led to a few embarrassments now that then. But she wasn't trying to say any "message" here - this is an expression of feelings about something that seems to really bug her. And the song is just gorgeous. 'Daffodil Lament' is their own "epic", like I said before. It's not a really smashing thing, but... well, it's a damn great song! The first part of the song is the sad, sorrowful lament of lost love with a bitter guitar line and all. It then fades gently into the uplifting, bright second part, and it ends with hushed vocals and wordless chants, probably to point out their Celtic roots, or anything? Well, whatever it is, it's a great song. A fan favourite, I guess. I don't see reasons to proclaim this as a "masterpiece", or even better than some of the band's best pop singles, but hey... it could have been worse. Much worse.</p>

<p>And instead of climaxing with a soaring track, the album flickers away with the droning title track. The instrumentation is nothing but a humming organ, and the rest is all O'Riordan. But with her vocals and her melodies, you just can't go wrong. <em>Beautiful</em> song - a rather strange closing for the album, yes, but it's still beautiful. Perhaps the best place to look for her most "pure" vocals, without those wild acrobatics and pyrotechnics of yore. Anyway, this album still deserves a 12. Tell you what: if you get their debut, or already got it, you'll probably have to own this one anyway.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>14/15</strong></big> - Well, it's still darn fine music.<br />
  <big>Resonance:   <strong>13/15</strong></big> - A tad less atmospheric this time around, yes.<br />
  <big>Originality: <strong>11/15</strong></big> - A bit less... "different", too.<br />
  <big>Richness:    <strong>14/15</strong></big> - But the melodies are still here!<br />
  <big>Solidness:   <strong>10/15</strong></big> - So nothing to complain about!
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Any opinions? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="departed">To The Faithful Departed (1996)</h2>
<p class="medium">
  Best song: <big>When You're Gone</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Hollywood <span class="good">+</span></li>
  <li>Salvation <span class="good">+</span></li>
  <li><span class="good">When You're Gone ++</span></li>
  <li>Free To Decide <span class="good">+</span></li>
  <li>War Child</li>
  <li>Forever Yellow Skies</li>
  <li>The Rebels</li>
  <li>Intermission</li>
  <li>I Just Shot John Lennon</li>
  <li>Electric Blue <span class="bad">&times;</span></li>
  <li>I'm Still Remembering</li>
  <li>Will You Remember?</li>
  <li>Joe</li>
  <li>Cordell</li>
  <li>Bosnia</li>
</ol>

<p>Tell you what: if you want reasons to bash the Cranberries, this is the album to get. Plain and simple. You see, the Cranberries are changing big time here: the songs are getting louder, more powerful and fiercer; the lyrical thematics are getting more serious, involved with political affairs and whatnot; and the lyrics are as clumsy and childish as they could possibly be. I'm sorry if this sounds rude, but I just have to say it. Dolores just <em>didn't</em> have the knack to write "charged" lyrics, 'cause they sound way too obvious! There's nothing creative and/or original about the way she approaches those subjects. But, even though I may be speculating, I think I understand her side: you see, when you become a famous artist, you have the desire to be <em>relevant</em>, to have something important to say, to put your fame to good use. I can perfectly understand that (I'm reminded of the short track 'The Ocean' from U2's debut: "And I thought like a star, I felt the world could go far if they listened to what I said"). Either that, or they were just tired of hearing "Oh, I can't stand those stupid love lyrics. Why can't you do like Bono, who came from the same country as you? He's <em>worried</em> about the problems of the world, and he expresses that in his lyrics!" in which case I <em>also</em> can perfectly understand them. But, at least, this album opened my eyes to something quite important: I prefer a band that's just doing simple love lyrics and simple thematics than a band that does some "charged" lyrics that may end up backfiring. Well... not <em>backfiring</em>, but I imagine that lyrics like "To all those people doing lines, don't do it / don't do it 'cause it's not what it seems" are the <em>last</em> thing a person with serious drug problems would want to hear. You know, the problem is... a <em>bit</em> more complex than that, you know?</p>

<p>But it's not only the politics and stuff: just like the album title refers, the album is dedicated to people that have already passed away: and that includes Dolores's uncle Joe, and the band's friend Denny Cordell (both died that same year) and... well, John Lennon. But even though I wrote that phrase right at the beginning of the review, and I might sound really bitter here, I say that I don't dislike this album too much, really. There are a couple of really good songs on here! Yes, it has its problems - it's a <em>very</em> patchy album, and some of the songs could cease to exist without me bothering. But these songs here do boost up the album rating a tad, and possibly make the album worth owning (even though you may want to buy the <strong>Stars</strong> compilation instead and get the best songs from here - heh, that compilation is a <em>really</em> good one, isn't it?).</p>

<p>But what is quite amazing is that if I describe most of these songs, you may think they actually suck. But they don't! Just see how 'Salvation' has those really stupid lyrics, but the music itself is fast and pumping, and the melody is catchy and there are even some brass stabs too. I have to admit I had trouble getting over those lyrics, but I did, and I like the song now. 'Hollywood', in essence, is another song molded after 'Zombie': you get the growling guitars, even more of those wild vocal acrobatics and all, and it's a quite awesome one. It seems the band has talent for that kind of song, in moderate doses, of course. 'Free To Decide' is a sweet, uplifting pop song - nothing much more than that, but from The Cranberries, uplifting pop songs are more than welcome, thank you. 'When You're Gone' is the best of the lot: it superficially sounds like a 60's romantic ballad send-up, but it's actually very beautiful! The chorus has a really pretty melody, you know.</p>

<p>And, well, those are the highlights. There <em>are</em> other good tracks here, but they are interspersed with the weaker ones, you know. 'War Child' is one of the most "charged" here, with lyrics about war, and all... Yeah, pretty silly stuff - not the thematics, mind you, but the actual lyrics. But the music is no angry march or anything like that - it's a folksy ballad, and a quite pretty one. 'The Rebels' isn't really silly, but that sound is quite... well, generic. It has quiet verses with strummed acoustic guitar, and verses with loud, distorted electric guitars... yes, <em>exactly</em> like that. It's not a bad song, but not too memorable either. And, of course, we can't forget the album's Grand Finale: 'Bosnia', a puffed up, loud, bombastic anthem... Well, I'm not a fan of it. It's <em>quite</em> overdramatic, and the band just doesn't have the hang of that kind of thing. So, the song just comes and goes without causing any impression - and the loud strings, marching drums, children choirs and everything just sound out of place.</p>

<p>'I'm Still Remembering' deserves some kind of award for being the most fantastically <em>bland</em> ballad in the band's catalogue so far. It borrows the jangly rhythm from 'Twenty One', but the melody <em>and</em> the lyrics just don't bring anything tasteful to the table. And 'Will You Remember?' is a silly novelty song with "baroque" sounds and a waltzing rhythm and stuff. I don't mind it, but I don't care about it either. 'Electric Blue' starts all ominous and mysterious (is that vocal chant the same from 'Daffodil Lament'? <em>Laaaaaame</em>...), and then turns into an all ominous, mysterios slow rock song with lyrics about electric blue eyes and Latin words in the chorus... You know, I don't mind Latin words, but when all you can write for your song is "Domine, Domine Deus, Domine", I only wish you'd leave the Latin to Christina Nordlander and forget about it. Bleh, I don't like it. And 'I Just Shot John Lennon'? Well, it's such a painfully <em>obvious</em> song, it hurts. The fast rhythm and guitar strumming, the grim minor key, the pissed off vocals kinda mesh together into an interesting brew, but it's a song about John Lennon's murder... What could be possibly said about it that wasn't said before?</p>

<p>But then, behold: Dolores wasn't trying to make any important statement. John Lennon was an idol for her, and since this album was made "To The Faithful Departed", hey, it's a dedication and hardly anything more. So, that's fine. The other "dedication" songs are pretty nice gems, actually: 'Joe' has beautiful mandolin playing, the melody is beautiful, and it doesn't go overdramatic (even though it gets close). 'Cordell' has a definitive "Celtic" flair, and it puts it to good use! Beautiful song, too.</p>

<p>And then you have it. You know, any moderate fan of the band must have this album, and the good songs are good enough to be worth owning. It's just a very patchy album, and listening to it all the way through can be tiresome, if you're in the wrong mood. But just like you get 'Electric Blue' and 'I'm Still Remembering' along the way, you got the fast, rocking 'Forever Yellow Skies' and 'Cordell'. Is this album divided in "halves"? You know, there's an "Intermission" there: cute, arpeggiated guitars, a piano line that could belong on a piano exercise... It's cute, but what would these "halves" be, then? Damned if I know. All I know is, if you want the best tracks here, get <strong>Stars</strong>. But the album, as a whole, is important to <em>understanding</em> the band a bit more. It's not a wretched album, or anything. It <em>is</em> their worst, but it could be even worse. And the nice thing is that they <em>did</em> change their course with the next album, so all hope is not lost.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - Well, I won't say I love it to pieces.<br />
  <big>Resonance:   <strong>8/15</strong></big>  - The "mysticism" I loved so much vanished... but at least, they still have nifty things in store.<br />
  <big>Originality: <strong>9/15</strong></big>  - Eh? Hmm... Well, I'll give them a <em>9</em> because they're still being "The Cranberries".<br />
  <big>Richness:    <strong>12/15</strong></big> - Oh, there <em>are</em> nice things here. They're just a bit lost.<br />
  <big>Solidness:   <strong>8/15</strong></big>  - I can't imagine a patchier album coming from this band.
</p>

<p class="ratingFinale">
  Total: <img src="images/09.png" alt="09" />
</p>

<p>I Just <a href="mailto:sirmustapha@gmail.com">Mailed</a> John Lennon.</p>

<hr />

<h2 id="hatchet">Bury The Hatchet (1999)</h2>
<p class="medium">
  Best song: <big>Promises</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Animal Instinct ++</span></li>
  <li>Loud And Clear <span class="good">+</span></li>
  <li><span class="good">Promises ++</span></li>
  <li>You And Me <span class="good">+</span></li>
  <li><span class="good">Just My Imagination ++</span></li>
  <li>Shattered</li>
  <li>Desperate Andy <span class="good">+</span></li>
  <li>Saving Grace <span class="good">+</span></li>
  <li>Copycat</li>
  <li>What's On My Mind</li>
  <li>Delilah</li>
  <li>Fee Fi Fo</li>
  <li>Dying In The Sun <span class="good">+</span></li>
</ol>

<p>Wow, <em>Storm Thorgerson</em> came to design album covers for these guys? Cool! I always liked his style, and even though the cover for this one may be a little too freaky for the band, that's still cool. Wait... so that means that the band is <em>even more ambitious</em> this time around? They didn't learn a lesson from the previous album?... Well, I don't like "guessing" what happens on artists' heads, but I suppose they <em>did</em> learn a lesson. So, if you thought <strong>To The Faithful Departed</strong> was the end of the band, this album will be a relief to you. For one, it packs about as many solid pop singles as <strong>No Need To Argue</strong> did - maybe even more. Yes, the band is turning back in to the Popland of their second LP. And while that means they aren't willing to go "back to their roots", it's a good thing to <em>me</em>.</p>

<p>Aside from that, if <strong>For The Faithful Departed</strong> was their sad, melancholy album, this one features the ULTIMATE CRANBERRY PISSED-OFFNESS. You might laugh at imagining the Cranberries being "pissed-off", but... Well, you'll just have to listen to songs like 'Copycat', then, where Dolores rants about the bands on the radio sounding like plain copies of each other. Of course, I have to say that, in her position, Dolores was doing a dangerous thing at accusing the other bands of being copycats and saying <em>she</em> didn't need to be another clone. I understand perfectly what she meant, but when you're not the World's Most Original musician like, say, <em>Philip Glass</em>, you're standing on thin ice with songs like that. But hey, she <em>is</em> Dolores O'Riordan of "To all those people doing lines, don't do it" fame. If you're not bothered by the lyrics (and the super-dorky keyboard sound they use), you'll probably like that song.</p>

<p>And then, you have the hilariously bitter 'Loud And Clear'. It isn't more than a pop song, but it's a <em>brilliant</em> one. It's got all the elements of a great single solidly in place, even though it wasn't released as one. Also, it's funny how Dolores sings "Loud and clear I made my point" in the middle-eight, just as I accused her so many times of lack of subtlety. Heh, was she trying to invalidate my points? Or maybe more people said the exact thing I said back in 1999, so there. Just as the song ends, the loudest, fastest, more rockin' song in the album comes, and it's 'Promises'. It's the only 'Zombie' sound-alike of the album, but with some crucial differences: it's fast, and its lyrics are far from political or anything. It's a pissed-off, angry song with thematics going back to <strong>No Need To Argue</strong>. By golly, what a cool song. Dolores does a great job with that hook on the chorus, and the stomping rhythm and the screeching guitars sound really good here.</p>

<p>What I'm saying is, basically, this album actually sounds more like an extension of <strong>No Need To Argue</strong>, just like that was an extension of their debut. It's almost like <strong>To The Faithful Departed</strong> was a "separate" item in their catalogue, or at least, that might be what they were trying to do. And that means that the album isn't entirely in-your-face and loud, so you get masterpieces like 'Animal Instinct'. Well, it's a <em>Cranberries</em> pop masterpiece, not an 'A Day In The Life' masterpiece, of course, but you get the point. It's a wonderfully sad and bitter pop tune with acoustic guitars and beautiful vocals. And on the other hand you get 'Just My Imagination', a gorgeous song with actually <em>uplifting</em> lyrics and an overall wonderful performance. In a romantic note, there's 'You And Me', featuring a nice "waving" bass line. You know, these five first tracks make a <em>killer</em> stretch of songs. Maybe that's a little weakness, since the rest of the album pales in comparison with so many non-stop Cranberry tastiness.</p>

<p>Fortunately, there isn't any really bad cuts. The worst the album gets is 'Delilah', that starts like a cool guitar-driven rocker, until Dolores comes with her singing. You know how much I love her voice, but <em>this</em> gets a little over the top. She just plainly yells and screams through the entire thing. It's a shame, since the song itself isn't bad. And for some reason, they felt the need to put a String Ensemble synth sound that belongs in a Cure song, so whatever. The "charged" lyrics make a rockin' comeback in the plodding, dramatic 'Fee Fi Fo', where she rants and laments about child molestation (I suppose). I have to say I don't need to have lyrics like that smeared all over my face just so that Dolores can make her point about paedophilia, but it's still a quite solid song. Think about it: it could have been worse.</p>

<p>There is the interesting rocker 'Desperate Andy', with some of the most fun singing on the album, and a quite great atmosphere of... <em>something</em> that grows all the way towards that 'climatic' coda. And fortunately, we have more ballads! 'Shattered' goes with acoustic guitars and string arrangements, and 'Dying In The Sun' goes with pianos and stuff. 'Dying In The Sun' is very simple, in fact (maybe simplistic?), but I quite like it: not only for being a cute ballad, but for being a better closing than the TEARJERKINGLY DRAMATIC "WHEN WILL THE SAINTS GO MARCHING IN" climax of 'Bosnia' (aww, I'm so mean!), also contrasting with 'No Need To Argue', too. 'Saving Grace' is some of that tenderness they can do so well, and 'What's On My Mind' even picks up a nifty jazzy little beat along with the acoustic guitars.</p>

<p>It's true, this album really falls on that "starts off great but gets boring halfway through" trap, which makes it weaker than <strongNo Need To Argue</strong>, but you can't go wrong with those five first tracks. They alone make the album worth getting... that is, if you don't buy <strong>Stars</strong> instead, which packs <em>four</em> of the five best tracks, in which case... well, remember 'Loud And Clear' and 'Saving Grace'. It's not dismissable (especially if you're a fan), and certainly much better than <strong>To The Faithful Departed</strong>. Overall, a good "return to form".</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Those first tracks are enough to guarantee it a 8. The rest keeps it up... somehow.<br />
  <big>Resonance:   <strong>11/15</strong></big> - Hey, they <em>are</em> being themselves, really.<br />
  <big>Originality: <strong>10/15</strong></big> - Nah, they've done most of this before.<br />
  <big>Richness:    <strong>12/15</strong></big> - There are goodies everywhere, that's for sure.<br />
  <big>Solidness:   <strong>11/15</strong></big> - Yep, an 11.
</p>

<p class="ratingFinale">
  Total:  <img src="images/11.png" alt="11" />
</p>

<p>Ani<a href="mailto:sirmustapha@gmail.com">mail</a> Instinct.</p>

<hr />

<h2 id="coffee">Wake Up And Smell The Coffee (2001)</h2>
<p class="medium">
  Best song: <big>Time Is Ticking Out</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Never Grow Old</li>
  <li>Analyse <span class="good">+</span></li>
  <li>Time Is Ticking Out <span class="good">+</span></li>
  <li>Dying Inside</li>
  <li>This Is The Day</li>
  <li>The Concept</li>
  <li>Wake Up And Smell The Coffee</li>
  <li>Pretty Eyes <span class="good">+</span></li>
  <li>I Really Hope</li>
  <li>Every Morning</li>
  <li>Do You Know <span class="good">+</span></li>
  <li>Carry On</li>
  <li>Chocolate Brown</li>
</ol>

<p>If <strong>To The Faithful Departed</strong> is their ultimate sadness album, and <strong>Bury The Hatchet</strong> is their ultimate piss-offitude album, then this is, unquestionably, their ultimate happiness album. It seems Dolores wanted this album to be a sort of turning point, what with her getting bigger at this point. And it couldn't have been less obvious: <em>ALL</em> of these songs talk about happiness, good things happening, things changing and all. Okay, maybe not all of them: 'Dying Inside' laments a lady dyinng inside because she "loved her gold" and "lost her soul". It occurred me that maybe Dolores is talking about <em>herself</em>. Could it be? Hmm... I dunno, I'm just guessing, and it does fit with the "I might as well learn by my mistakes" thematics of the title track.</p>

<p>You know, it's a great thing that she was happy by this time (and I suppose the rest of the band was too?), and was trying to express it in her music. That's noble. But if you're really picky about lyrics, you're probably going to point your finger and laugh at what you'll find here. After all, what with such attempts at poetry as "I never had a friend like you, this is the day / Your skin is white, your eyes are blue"? But after all this time, I don't really care. A set of lyrics has to be <em>really awful</em> to ruin a musical experience for me. Dolores' lyrics were always quite in-your-face when she wasn't talking about broken relationships (when the in-your-face aspect actually <em>helps</em>, that is), but I don't consider them as "really awful" at all. You'll just have to get used to it if you want to approach the album. The really important aspect of the album, for me, is the music. And the really important reason for me rating this album as their second weakest effort is the annoying, absolute lack of <em>real</em> highlights. There are several really good tracks here, but any 'Linger' worthy material? Not at all.</p>

<p>As a result, the album could only works as a "complete" album, and... Well, there are some lacklustre songs here, too. In the end, you'll find plenty of high points and low points to, er, "balance" the experience. However, both the high and low points aren't as accentuated as they were on <strong>To The Faithful Departed</strong>. So the listen is, overall, more pleasant. Also, it's quite interesting how the album begins: 'Never Grow Old' is definitely trying to reach back to their debut. The strummed acoustic guitar and hazy piano notes, the whispery vocals and soft percussion definitely try to create that "mystique" again. It's a really pretty tune. Not as excellent as 'I Still Do', but I still like it lots. And what follows that introduction? 'Analyse', of course! If you give it a superficial listen, you can call it a plain rewrite of 'Dreams': the rhythm is similar, the chords are almost the same, and they even try to immitate that tremoloing guitar with a synthesizer. Well... it's <em>not</em> a rewrite of 'Dreams', but isn't it remarkable how these two tracks resemble the 'I Still Do / Dreams' opening? And even more when you realise that Stephen Street, who produced their first two LPs, is producing this album too? If that's not an attempt to "return to their roots", then nothing is.</p>

<p>But, well, it would take them a <em>lot</em> of effort to really return to the sound of their debut. And considering the position they were at, that would have been a silly move. You know, "score a lot of hit singles and return to the dark, whispery, understated sound of yore"? Nah, I don't think the band had that mindset. So, after 'Analyse' ends, we're back to a more "modern" brew of songs. They even apply "electronica" elements in 'The Concept'! What with that rhythm track and the piano loop? Heh.</p>

<p>So... the songs? Well, 'Analyse' isn't an example of solid melodywriting, in my opinion, but it does have that magnificent chorus, after all. I'm also puzzled by those verses... Yeah, the "don't analyse" part. Is she talking to critics, really? If that's the case, that's even more questionable than the lyrics to 'Copycat'. "Don't analyse my music! If you do it, you'll dislike it, and... it will <em>paralyse your evolution</em>..." Of course, she could be talking about someone else, something more related to "the greatest love of them all", so I don't care. Or maybe she was telling us to stop analysing so nobody would realise that the melody of 'This Is The Day' is awfully lifted from 'Zombie'! Yeah, that's right. It isn't the <em>entire</em> melody that's lifted from 'Zombie', but the similarity is clearly recognisable. The song itself... well, ehn. It's a mid-tempo rocker kind of thing with distorted block chords and... Eh, I don't like it. There, I just said it. But it's the only one that I really don't like. Some of the others might not be very remarkable, but they are pleasant enough. 'Dying Inside', for example, is a sad, fine little ballad, though it starts getting repetitive towards the end. And 'The Concept' has those aforementioned "electronic" touches, and it sounds kinda silly, but nothing bad. It's cute.</p>

<p>'Time Is Ticking Out', on the other hand, is a damned <em>lovely</em> pop song. The lyrics have that "charged" tone to them, but is it just me, or is she finally admitting that they "don't know" about it? After all, for her, "love is all". Maybe she was dropping, once and for all, the politics? Well, okay, then. Great melody, still. The second half of the album has some really nice songs, too. 'Pretty Eyes' is a slow, quiet ballad, and there's just <em>something</em> about it... I like it lots. 'I Really Hope' kind of reminds me of The Cure... <em>for some reason</em>. You know, that fast rhythm, the minor key, the synth string sound... Maybe I'm just paranoid, but it <em>does</em> sound a wee bit like The Cure. 'Do You Know' is also a nifty, frantic acoustic pop song with fast acoustic guitar chords and a nice vocal melody.</p>

<p>In general, this second half is a really pleasant listen. 'Every Morning' and 'Carry On' are nice, beautiful ballads, and 'Chocolate Brown' makes a slow end to the album, much like 'Dying In The Sun', but with acoustic guitars. The first half has better tracks, but also 'This Is The Day'. And the title track, the "centrepiece"... Well, I can definitely see they were trying to do something 'different', with those plunk-plunk-plunk-plunk synthesizers in the intro, and the sudden crashing guitar chords, and the stomping rhythm... I disliked it the first time I heard it, but now I have some fun with it. The album became "smoother" the more I heard it. Fans will want to have it, for sure. I can select some tracks here for my selection of "Cranberry creme de la creme", and the album itself may appear in my playlist sometimes, no problem at all.</p>

<p>Oh, and of course, The Cranberries ceased their activities after this album, but it doesn't seem to be a definitive decision... Who knows, maybe they will reform to put out a <em>really</em> good album in a few years? That would be no harm. As of now, they left us five good albums, and a whole load of excellent songs. Way to go!</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - A very smooth, pleasant listen.<br />
  <big>Resonance:   <strong>11/15</strong></big> - It's hard to truly <em>relate</em> to this album, at times, but some spots give me a warm feeling.<br />
  <big>Originality: <strong>9/15</strong></big>  - Hmm... Not really.<br />
  <big>Richness:    <strong>10/15</strong></big> - It's not packed with goodies all the way through, I have to say.<br />
  <big>Solidness:   <strong>9/15</strong></big>  - Kinda unstable, at times.
</p>

<p class="ratingFinale">
  Total:  <img src="images/10.png" alt="10" />
</p>

<p><em>Do</em> analyse! <a href="mailto:sirmustapha@gmail.com">Mail me your comments</a>!</p>

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